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Repertoire für Musikschulen - Saxophon Solo

The content of this volume consists exclusively of solo pieces and character etudes, with just a few exceptions they are almost all transcriptions. The majority are Baroque or 19th-century works, and they include both totally unknown compositions and other that are well-known (e.g. certain movemets of the Bach partitas for violin and the solo suites for cello).

Sonata for Solo Violin (2010)

A virtuoso concert piece, a transcription for violin of the Solo Sonata composed for viola in 2004. As in other works by János Vajda, in the well-proportioned structure of the solo sonata and in its wealth of melodic invention the presence of classical models is clearly perceptible, but conceived in a characteristically postmodern manner. The three movements represent three different characters: the dancing rhythm of the main theme reappears in the last movement as a lively toccata: the middle movement, which abounds in pre-classical figurations, evokes the singing, fantasia-like slow movements of the 18th century. The two outside movements are based on the same theme, and thecharacteristic intervals of this musical idea recur in the slow movement as well.

Introduzione e Scherzo : for Violoncello solo

One of the greatest contemporary cellists, Miklós Perényi (b. 1948), appears with great success as a soloist and chamber musician on concert stages across the world. In addition to giving concerts and teaching, he has recently been engaged in composing primarily solo cello works and chamber music.

Sonata for Solo Violoncello (2006)

A virtuoso concert piece, a transcription for violoncello of the Solo Sonata composed for viola in 2004. As in other works by János Vajda, in the well-proportioned structure of the solo sonata and in its wealth of melodic invention the presence of classical models is clearly perceptible, but conceived in a characteristically postmodern manner. The three movements represent three different characters: the dancing rhythm of the main theme reappears in the last movement as a lively toccata: the middle movement, which abounds in pre-classical figurations, evokes the singing, fantasia-like slow movements of the 18th century. The two outside movements are based on the sametheme, and the characteristic intervals of this musical idea recur in the slow movement as well.The work was premiered in 2006 by Balázs Kántor.

Stabat Mater : for soprano and baritone solo, mixed choir and orchestra

Miklós Kocsár set Jacopone da Todi's Latin hymn to music in 2007. The composition is for soprano, baritone solo, mixed choir and orchestra. The nearly 20-minute-long monothematic work of one movement presents the suffering and reconciliation of Mater Dolorosa with variational technique and colourfully alternating choir and solo textures. Using the score, which includes the vocal parts, Stabat Mater can be performed with not only orchestral but also piano or organ accompaniment.

Echoes No. 1 : for solo horn (Revised edition)

ECHOES NO. 1 (for solo horn) and ECHOES NO. 2 (for two horns) are contemporary pieces by Miklós Kocsár, worldwide celebrate and prizewinning composer of chamber music and choral works. The volumes ECHOES NO. 3 (for three horns) and ECHOES NO. 4 (forfour horn) are in preparation.

Linos for harp : Solo

Greek mythology seems spontaneously to have offered the figure of linos as the central character in a work for solo harp. (Linos was a poet, believed to be the brother of Orpheus, and according to Greek tradition no greater musician ever appeared among mankind.) The musical material, conforming to the characteristics of the harp, consits of two interesting seven-degree note rows incorporating all the possible pedal combinations, their mirror inversions and the five-degree noterows that fit between them. The nine-section composition is made up of scenes from the imagined life of Linos, an imagined 'Linos's hymn', and laments played in his honour.

Sonata for Solo Violin (1947) : First edition

András Sz ll sy (1921-2007) was one of the most significant Hungarian composers of the second half of the 20th century, yet his oeuvre has not become as well-known as that of György Ligeti, two years his junior, or of György Kurtág, five years his junior. Sz ll sy did not compose many works and he was strict about which of them he would allow to go public. As a younger colleague of his once remarked: "He only composed his good works." Sz ll sy's Sonata for Solo Violin, which was written at the age of 26 and was publicly performed only in 2006, almost 60 years after its composition, fell victim to his self-criticism. Although the model of Bartók's Sonata for Solo Violin ofjust three years earlier was obviously on the young composer's mind, he was no epigone of the great master.

Consolations, Grand solo de concert and Other Work : Suppl. 10

Of the early versions of works included in this volume the first versions of the notably popular Consolations cycle and Grand solo de concert (published in 1850) are of particular interest. In the first version of Consolations the third movement was a style hongrois piece whose thematic material was later used by Liszt in his Hungarian Rhapsody No. 1 (published in 1851). The first version of Grand solo de concert shows that the work did not originally include a slow middle section to be recapitulated towards the end as seen in the final version. This is a characteristically Lisztian feature that would reappear a few years later in his Sonata in B minor.

Four Poems By Anna Akhmatova : for Sopran Solo and Chamber Ensemble

The first performance of György Kurtág's song-cycle written to poems by Anna Akhmatova took place on January 3rd, 2009, in the Carnegie Hall, New York. In this work it is evidence of the exceptionally intimate relationship between the text and the music, that the composer originally imagined the songs as a single vocal solo. The parts for the instrumental ensemble, with their characteristic colours, only later became paired with the vocal solo. The Russian language and the identification with the female figure make the Akhmatova songs an organic sequel or rather a belated successor to the song-cycles Messages of the late R.V. Troussova and Scenes from a Novel. (Zoltán Farkas)

Messages - solo-pieces for percussion

László Zempléni (b. 1947) is a percussionist at the Hungarian State Opera, and also active as a teacher. The majority of his works have been written for pedagogical purposes. Entitled "Messages" two independent solo pieces are contained in a single volume. One of them, Seven SMS studies was written for drums only, and according to the composer’s own description, "The ‘leading motif’ in each study is the rhythm of the morse-signals of the SMS letters, always in a different metre and with a different character". The other work, Late message was composed for a variety of percussion instruments. Both pieces were intended for music school students, and could be effective programmeitems for student concerts.

Sonata for Solo Viola (2004)

A virtuoso concert piece originally composed for viola in 2004. (The version for violoncello was written in 2006, the second one for violin in 2010.) As in other works by János Vajda, in the well-proportioned structure of the solo sonata and in its wealth of melodic invention the presence of classical models is clearly perceptible, but conceived in a characteristically postmodern manner. The three movements represent three different characters: the dancing rhythm of the main theme reappears in the last movement as a lively toccata: the middle movement, which abounds in pre-classical figurations, evokes the singing, fantasia-like slow movements of the 18th century. The two outsidemovements are based on the same theme, and the characteristic intervals of this musical idea recur in the slow movement as well.

Consolations : Grand solo de concert (earl. vers.) and Other Works (Suppl. B 10)

Of the early versions of works included in this volume the first versions of the notably popular Consolations cycle and Grand solo de concert (published in 1850) are of particular interest. In the first version of Consolations the third movement was a style hongrois piece whose thematic material was later used by Liszt in his Hungarian Rhapsody No. 1 (published in 1851). The first version of Grand solo de concert shows that the work did not originally include a slow middle section to be recapitulated towards the end as seen in the final version. This is a characteristically Lisztian feature that would reappear a few years later in his Sonata in B minor.

Signs, Games and Messages : Solo and Chamber Works

Signs, Games and Messages are series for solo instruments and small chamber ensembles. Each of the three notions refers to an essential factor in Kurtág’s music. Signs ties it with the composer’s period of study in Paris as a young man, when he could not compose, merely put graphic signs on the paper. Games links with his nine-volume series for the piano with that title. Messages conveys the very personal content of these works, in that these short pieces are meant to be diary-entries and missives to musicians and friends important to Kurtág. The collection - like the earlier five series for string instruments - does not form a coherent cycle. The pieces can be played individually or in various orders or mixed with from Signs, Games and Messages written for other instruments.

Signs, Games and Messages : Solo and Chamber Works

Signs, Games and Messages are series for solo instruments and small chamber ensembles. Each of the three notions refers to an essential factor in Kurtág's music. Signs ties in with the composer's period of study in Paris as a young man, when he could not compose, merely put graphic signs on the paper.(Additionally, the word points to inspiration gained from the art of Klee and Michaux.) Games links with his nine-volume series for the piano with that title. Messages conveys the very personal content of these works, in that these short pieces are actually diary notes and missives to musicians and friends important to Kurtág.The collection - like his earlier five series forstringed instruments - does not form a coherent cycle. The pieces can be played individually or in various orders or among pieces from Signs, Games and Messages written for other instruments.

Libero per trombone solo : per trombone solo

Shavings für Fagott solo : für Fagott solo

Aria di coloratura per tuba solo : per tuba solo

Sonate in re maggiore per violino solo : per violino solo

Piano concerto in a major (Suppl.15)

(Version for piano solo) and other works

Piano Concerto in A Major (Suppl.15)

(Version for piano solo) and other works

Piano concerto in a major (Suppl.15)

(Version for piano solo) and other works

Solo a livre ouvert

Sonata per violino solo

Study : for violo solo

The piece, commissioned by Eszter Lázár and the Hungarian Radio, was composed in 1995 on occasion of the 50th anniversary of Béla Bartók’s death. Its world premiere was held on 1 October in the Hungarian Radio, performed by János Fejérvári.The fantasy-like one-movement composition resembles the structure of classical sonatina. Study is an important piece of contemporary viola music and deserves to be a significant part of not only international concert repertoire, but also of academic level music education.This edition has been supported by the Board of Music Publishing of the Hungarian Composers’ Union.